紅橋畫廊成立 二年以來，從最初的“溫暖”開幕展，到每年一次的“新界面 ”聯(lián)展；從優(yōu)秀的中國藝術(shù)家展覽，到國內(nèi)外畫廊藝博會(huì)中的爭鳴；從傳承中 國傳統(tǒng)，到同步于西方觀念；我們致力于，對中國當(dāng)代藝術(shù)的探索和梳理，并力圖呈 現(xiàn)一種文化發(fā)展的脈絡(luò)。

    眾所周知，東西方文化的 交融，已走過很多年。而文革后三十年，是中國對西方藝術(shù)再認(rèn)識的三十年。文化上 秉承五四余韻。是一個(gè)新的學(xué)習(xí)和消化的過程。但同時(shí)，也是一個(gè)新的再創(chuàng)造的過程 。中國的藝術(shù)家將在自身獨(dú)特的文化背景下，開始新一輪的藝術(shù)嘗試與實(shí)踐。并且這 一實(shí)踐的過程，將隨著中國經(jīng)濟(jì)的發(fā)展，和國際地位的不斷提高，勢必成為全球關(guān)注 的焦點(diǎn)。此種趨勢，從這兩年中國當(dāng)代藝術(shù)市場的狀態(tài)，便可窺一斑。

    但實(shí)際上，這還只是一種經(jīng)濟(jì)層面的現(xiàn)象。所謂經(jīng)濟(jì)基礎(chǔ) ，決定上層建筑。這表象的背后，其實(shí)是一種文化的復(fù)蘇。一種中國文化的新的復(fù)蘇 ，并且，承載著五千年悠久的傳統(tǒng)沉淀?；仡櫄v史，我們知曉，中國傳統(tǒng)文化自清末 肇始，已沉默得太久。這是一個(gè)新的歷史時(shí)期，也必然會(huì)呈現(xiàn)一種新的文化現(xiàn)象。根 植于東方傳統(tǒng)，兼容并包。

    在這東西方藝術(shù)交融的 過程中，一種新的東方文化的內(nèi)涵正在形成。

    這兩 年，我們通過對自中國當(dāng)代藝術(shù)誕生成長之際就以拿來主義之態(tài)度對西方現(xiàn)、當(dāng)代藝 術(shù)消化、吸收并作出杰出貢獻(xiàn)的藝術(shù)家，和于新世紀(jì)我們所進(jìn)入的當(dāng)代社會(huì)（與傳統(tǒng) 社會(huì)相對）中成長起來的藝術(shù)新秀的具體的個(gè)案研究，可以越來越明顯感覺到在這個(gè) 特定的、承前啟后的歷史時(shí)代，這種東方文化其復(fù)興與發(fā)展的潛質(zhì)。

    這些個(gè)案中，前者包括劉煒、唐志岡、毛旭輝、曾梵志、 周春芽、葉永青等“老”藝術(shù)家，后者有婁申義、黃宇興、王光樂、秦琦 、史新驥、林國成、舒揚(yáng)、破水、許珂、尚一心、何偉、張晉熙等新一代藝術(shù)家。他 們的藝術(shù)氣息正體現(xiàn)著這種變化。

    并且，這種文化 復(fù)興與發(fā)展之潛質(zhì)，將發(fā)生在各個(gè)文化領(lǐng)域。這是一種必然，而不僅局限于藝術(shù)。只 是，我們通過對中國當(dāng)代藝術(shù)的探索，深深地感覺到了這些跡象。并愿意為之努力。 雖然事情還沒有完全發(fā)生。于是，讓我們徜徉以待，在實(shí)踐中證實(shí)。這或許就是智者 的選擇，也是理想主義者與純粹主義者的樂趣。誠邀同道與非同道共賞矣。

    新春將近，紅橋畫廊新成立的H＆H space空間，將于年初 在淮海路上海紅坊國際文化藝術(shù)社區(qū)隆重開業(yè)。新空間占地600多平米，建筑結(jié)構(gòu)新 穎，藝術(shù)氣息濃郁。在這個(gè)新的起點(diǎn)上，我們將繼續(xù)以架上繪畫和雕塑展覽為主，同 時(shí)探索影像、裝置、新媒體等藝術(shù)語言，通過對個(gè)案的具體研究發(fā)掘，展現(xiàn)新的藝術(shù) 價(jià)值，培養(yǎng)年輕一代的藝術(shù)家。

    日常管理模式上， 我們也將一邊借鑒和學(xué)習(xí)西方一流畫廊的操作模式，一邊結(jié)合中國國內(nèi)自身的文化特 點(diǎn)，努力探尋出一套現(xiàn)階段適合中國畫廊的運(yùn)營管理模式。

    在未來的日子里，我們將秉承一貫的真誠嚴(yán)謹(jǐn)?shù)膶W(xué)術(shù)態(tài)度 ，本著對藝術(shù)本身的思考，在對中國當(dāng)代藝術(shù)發(fā)展脈絡(luò)進(jìn)行歷史梳理的同時(shí)，也將發(fā) 掘藝術(shù)家及其作品的藝術(shù)價(jià)值、做好學(xué)術(shù)推廣當(dāng)作自己的使命，以藝術(shù)的變遷感知文 化的發(fā)展，探索和研究中國當(dāng)代藝術(shù)的發(fā)展方向，為促進(jìn)中國當(dāng)代藝術(shù)的成長和國際 化奉獻(xiàn)一份綿薄之力。
 

Since its establishment two years ago, the Red Bridge Gallery has been devoted to exploring and sifting Chinese contemporary art and trying to show traces of the cultural development: from the opening exhibition of Land of Warmth to the annual group exhibition of The New Interface Art; from hosting exhibitions for brilliant Chinese artists to making its presence at the art expos home and abroad; and from carrying on the Chinese traditions to keeping pace with the western concepts.

As is know to all, the Eastern and the Western cultures have been interactive for ages. The three decades after the Cultural Revolution (1956-1966) is a period when China tried to reexamine and recognize the Western arts. Led by the spirits of May 4th New Culture Movement, Chinese culture experienced a new process of learning and assimilation, as well as of re-creation. Now, in the unique Chinese cultural background, Chinese artists will start a new round of attempts and practices, which will surely become the focus of attention worldwide as China’s economy develops and the country’s international standing gets increasingly high. The market of Chinese contemporary art in the recent two years has already shown some hints of the tendency.

This seems simply a phenomenon in the economic realm. However, considering that the economic base determines the superstructure, we may conceive from the phenomenon a cultural revival, a new recovery of the Chinese culture with its five-thousand-year traditions. In retrospect, we are fully aware that the Chinese culture has long been in silence ever since the end of the Qing Dynasty. Yet in this new historical period, a new cultural phenomenon is surely to happen in China, taking root in the oriental traditions and enriching itself with other cultures of the world.

In blending of the Eastern and the Western arts, a new type of oriental culture is beginning to take shape.

The past two years have seen our efforts in cases study on the brilliant artists of the early generation as well as on the outstanding young artists who rose in the contemporary age. In the spirit of “taking in as many fine things as possible”, the early generation introduced and assimilated the Western modern and contemporary arts and made marvelous contributions to Chinese contemporary art from the very beginning. The result of such case studies more and more obviously indicates the potential for the oriental culture to revive and prosper in this special historical era that serves as a link between the past and the future.

Among the cases, the former refers to the “old” artists, including Liu Wei, Tang Zhigang, Mao Xuhui, Zeng Fanzhi, Zhou Chunya, Ye Yongqing, etc.; and the latter refers to artists of the younger generation such as Lou Shenyi, Huang Yuxing, Wang Guangle, Qin Qi, Shi Xinji, Lin Guocheng, Shu Yang, Po Shui, Xu Ke, Shang Yixin, He Wei, Zhang Jinxi, etc. Their artistic perception and temperament well implies the above-mentioned trend of changes.

Far more than that, such potentials of cultural revival and prosperity will inevitably take place in an all-around way rather than be confined to the field of art. The efforts we have made in exploring Chinese contemporary art happen to show such a tendency, though it has not come true yet. Let’s take our time to prove it in practices and this should be a choice of the wise, where lies joy and pleasure of idealists and purists. We now sincerely invite kindred spirits and other friends to join us in witnessing the significant process.

The Chinese Spring Festival is now around the corner. H&H space, the new site of the Red Bridge Gallery will be open in Shanghai Red-town International Culture&Art Center on Huaihai Road at the beginning of the new year. It covers an area of over 600 square meters with constructions of novel style and rich artistic atmosphere. With a new start, we will continue to focus on easel painting and sculpture exhibitions and to probe into other art forms at the same time, for instance, videos, installation, new media, etc., aiming to nurture artists of the younger generation and present new values of art through specific case studies.

When it comes to the mode of routine management, we try to learn from the operation of top-class western galleries on the one hand and adapt them to cater for the Chinese cultural situations on the other hand, aiming to create an applicable management mode for Chinese galleries.

In the days to come, we will carry on our long-held attitude of sincerity and preciseness. With the determination of pondering on the nature of art and with an aim to trace the development of Chinese contemporary art, we also take it as our mission to bring to light artists and their works, as well as to promote the acedemic studies on art. With the awareness of changes in art and developments in culture, we have been devoted to exploring the trend of development in Chinese contemporary art and making our bit of contribution to its development and internationalization.